EVERY AFRICAN ARTWORK HAS A MESSAGE OR STORY TO TELL: MAZI MBONU OJIKE CONFIRMS THIS WITH EXAMPLES

EVERY AFRICAN ARTWORK HAS A MESSAGE OR STORY TO TELL:  MAZI MBONU OJIKE CONFIRMS THIS WITH EXAMPLES

Mazi Mbonu Ojike talking about African artists (carvers) and narrating his discussion with a carver in his hometown Arondizuogu said:

“And as he ((carver) explains the graphic meanings of his art, we perceive how ignorant we laymen are. He seeks to bring about a reform without a sword, without a word. His language is the language of ages, the philosophy of his society. He does nothing for personal gain; every symbol is designed to humble us, the selfish and the power-seekers. His logic of the order in creation is most bewildering.

A carver once picked up a calabash produced by another and asked, “What do you think these signs represent?” I had been eating from the vessel without the least curiosity to discern the meanings of the beautiful graphic forms on the cover. “I don’t know,” said I. “Please tell me.” He went on and brought a gun and ask me if I had ever seen a herd of beasts. I was frightened: I might be shot. “Yes,” said I. He showed me the forms representing the hunter, the gun, the animals; and gradually brought me to guess. “Oh,” I said, “it means that a hunter killed some squirrels.” “Wrong, but not much!” exclaimed he. The artistic meaning was that “if you discharge a big gun, the animas will flee”. I was so interested that I went and brought out the other half of the calabash and learned that there was a moral on it too.” 

"It depicted a struggle for existence where there were three levels of creation – the hen protecting her brood, the hawk trying to pounce upon the hen, and the hunter aiming at the hawk. The hunter shot down the hawk, and the hen, with her young, was spared. Asked the importance of “wasting” energy over so trivial an idea, the carver proceeded to tell me a story of how a big village went to war with a smaller one fifty years ago. The battle raged high and low until a bigger village attacked and over threw the aggressor. I said, “Yes, but what difference did it make? One village was defeated, anyhow, and all three belonged to the same town.” “You see, son,” he said, “the biggest saved the smallest, just as the hunter saved the chicken. The big village was the greedy aggressor, just like the hawk. Hence God, who does not sanction aggression, leaves one creature above the other, and another above that still, so that when one attacks the creature below, there is always another higher power to discipline it by force.” “Ihe kwulu, ihe akwudebe ya” – When a thing stands, another stands beside it.”

Culled from Mbonu Ojike, My Africa (London: Blandford Press, 1955), 167- 168.

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When you see any ancient carving, think of the unassuming sculptor who laboured, gave his or her talents, time and energy to serve the people, including the generations yet unborn. Appreciate such works. Admire it. Try to decode the message hidden in it. It is for your good, your peace and progress. Do not think of burning it or throwing it away. Such acts of barbarism raise a big question mark on one’s educational and religious upbringing. 

Think about it as we commemorate World Art Day 2024.

Udo diri unu.

Fada Angelo Chidi Unegbu